Back in 2013, I did a small piece of research on visual style in Coronation Street. This was for a couple of different reasons. For a few years, I had been using Christine Geraghty’s very helpful distinction between the ‘realist’ tendencies of British soap operas in their earlier days and the shift towards melodrama that has occurred more recently, and I wanted to investigate whether this evolution might affect things like scene duration, shot scale, and so on. I have also been interested for a long time in David Bordwell’s work on visual style, particularly visual style in Hollywood cinema. Bordwell’s article ‘Intensified Continuity’ in Film Quarterly argues, convincingly, that there have been four major, interlocking changes in the visual style of contemporary American film as compared with what we might call ‘the classic era’: ‘More rapid editing’, ‘Bipolar extremes of lens lengths’, ‘More close framing in dialogue scenes’, and ‘A free-ranging camera’. I wondered if I might find similar changes at work if I compared old and new episodes of soap opera (and I decided to focus my attention on the first and third of the features Bordwell mentions).
Continue reading “Representing the everyday in Coronation Street (1960 and 2013)”
This article presents some thoughts on special live episodes of soaps since 2010, in particular the editions of EastEnders and Coronation Street broadcast in February and September 2015 respectively.1 It identifies some of the ways in which the two series addressed liveness both textually and paratextually, as in their cross-platform interest in interactivity. Engaging with British television drama’s residual qualities of liveness, immediacy and intimacy, these episodes pose questions for our understanding of soap storytelling, in particular its handling of time. The following thoughts are unpolished reflections, taken from before and after a module screening, but form hopefully useful notes for others to develop, for instance in conjunction with this site’s other pieces on live drama across the decades and a forthcoming piece that will discuss soap time in more detail.
Continue reading “Live soap: EastEnders and Coronation Street (2015)”
Near the end of Castles in the Sky (2014), the docudrama about the invention of Radar broadcast on BBC Two earlier this month, Robert Watson-Watt (Eddie Izzard) shows his colleagues a television set.1 This produces another of the little scientific breakthroughs that form the core of this quietly endearing piece. The set is at once modern and archaic: in the programme’s 1930s setting this gleaming new object is a technological marvel, proposing a solution to a challenge on which the defence of the nation rests, but in the visual rhetoric of the 2014 drama it appears almost comic. This reminded me of some of the tensions that sometimes result when television technology appears in docudramas, either in terms of sets or studios. This article runs through a few such moments in pieces including The Fools on the Hill (1986), The Road to Coronation Street (2010) and An Adventure in Space and Time (2013).
Continue reading “Docudrama – Notes #1: TV sets & TV Centre”